This study aims to uncover the relationship of the objectivist philosophy of Ayn Rand with architecture. After examining the philosophical bases of Randian objectivism, and how the philosophy is related to architecture via contemporary modernism, especially the modern architectural understanding of Frank Lloyd Wright, the study concentrates on how objectivism interprets architecture. The aim here is to describe what kind of an architectural aspect inspired Rand and how Rand used architecture in order to propagate her philosophy. Objectivist interpretations of architecture simply means how objectivism&rsquo / s basic assumptions perceive and respond to architecture as revealed in Rand&rsquo / s writings. In order to understan the architectural interpretations, the focus of analysis is the objectivist literature by Rand such as fictions, movies and articles. The resultant emphasis of the analysis on the relationship between Rand&rsquo / s objectivism and architecture, is on the tension in architectural relations between the individual and the state, the individual and the society, and the individual and history, which are defined as against settled social and traditional values

This study aims to analyze the istanbul Hilton, the izmir Grand Efes and the Grand Ankara Hotels, which are owned by the Pension Fund, during the 1950-1980 period that witnessed the formation process of modern tourism and tourism architecture in Turkey. As the first five-star hotels of their cities, these buildings provide the possibility of tracing the social transformation processes at the second half of the 20th century beyond their architectural properties that reflect and affect the zeitgeist of the period. In this manner, besides the architectural formation of the buildings, this thesis also aims to examine the participation of the hotels in social life and the relations of architecture with the changing city life and tourism. Moreover, this thesis offers historical perspectives about tourism architecture, about which adequate researches have not been provided yet. Chronologically, the first chapter formulates a general introduction. The second chapter issues the 1950s&amp / #8217 / Turkey and the istanbul Hilton Hotel. The third chapter issues the 1960s&amp / #8217 / Turkey and the izmir Efes Hotel and the Grand Ankara Hotels. The fourth chapter examines the critique of tourism that developed in the 1970s&amp / #8217 / social and political medium, and the last chapter is a general conclusion

This thesis investigates the key aspects of modern architecture in the first half of the twentieth century by an extensive reading of Sigfried Giedion&rsquo / s book on modern architecture: Space, Time and Architecture &ndash / The Growth of A New Tradition. Giedion&rsquo / s life, his education, his other writings and his relationships with the pioneers of the era are considered as significant influences on the writing of the book. After giving an informative summary of the book, the key themes of the book are analyzed. While analyzing these themes, the opinions of other architectural historians on these themes are also taken into consideration. The reviews on the book are elucidated in order to grasp the first reactions of architectural history circles, and then they were followed by the later impressions. The claim is that Space, Time and Architecture is an influential resource for the understanding of how modern architecture is written about in the first half of the twentieth century. The proof of this influence is both the written sources on the book and its rule in Manfredo Tafuri&rsquo / s formulation of &lsquo / operative criticism&rsquo / .

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During the 1950s, Venezuela embarked in an architectural venture marked by aesthetic, programmatic, and technological explorations. Politically framed by the international tension of the Cold War, this period was distinguished by multiple commercial exchanges between Venezuela and the United States, specially based on the oil industry. Many cultural aspects of the Venezuelan life, including its urban and architectural production, changed because of this interrelationship. Yet the conventional view is that architecture in Venezuela was torn between the repetition of U.S. models and the purest creativity of its local designers. Based on periodical publications of that time, and methodologically framed by the contemporary notion of transculturation and Gianni Vattimo’s weak though, this research demonstrates that modern architecture in Venezuela, produced by both locals and Americans, went beyond a unilateral center-periphery influence, and ended up being the hyperrealization (intensified version) of U.S. ideals. In this sense, the research analyzes an aspect not studied yet in depth: the connection between the long-term geographical profile of Venezuela and a unique geopolitical situation, as the basis for an outstanding architecture. The dissertation examines how the Edificio Creole in Caracas, designed by American architect Lathrop Douglass for Standard Oil, and completed in 1955, was not the subsequent version but the advanced prototype of the Esso office buildings both in Louisiana and New Jersey. It shows as well how the Electricity Building in Caracas (1955), also designed by Douglass, and whose authorship has remained unknown until now, represented a unique opportunity both to explore the insertion of an “horizontal skyscraper” in downtown, and to reveal a complex network of professional and political relations. By examining Higuerote Beach Resort, a vacation and residential complex located near Caracas, the dissertation also demonstrates how American magazines were used by Venezuelans as the basis for an architecture that became original without the inspiration of a genius designer. Finally, this research analyzes the production of a supernatural architecture through the Helicoid Shopping Center in Caracas (designed by Arquitectura y Urbanismo C.A. in 1955), one of the most paradigmatic examples of modern Venezuelan creativity, and probably the utmost realization of the American Utopia. / text

Land of the in-between explores how modern architecture responded to demands for political and ideological representation during the Cold War using socialist Yugoslavia as a case-study. Self-proclaimed as universal and abstract, modernism acquired a variety of specific meanings hidden behind seemingly neutral forms that, however, frequently contained decidedly political dimensions. During the Cold War, Yugoslavia deliberately positioned itself halfway between the Eastern and Western blocs, thus representing an excellent case for a study of shifting political meanings ascribed to architecture at that time. This dissertation follows two lines of investigation: transformations of architectural profession, and changes in the modes of architectural representation of the state. Consequences of two key moments are explored: the rise to power of the Communist Party of Yugoslavia in 1945, and its expulsion from the Soviet bloc in 1948. These two moments correspond to two distinct phases that shaped architecture in socialist Yugoslavia: a period of intense Stalinization immediately after WW II, and a period of gradual liberalization after the country's sudden break-up with the Soviet Union. During the short-lived Stalinist period, the regime subjected Yugoslav culture to the doctrine of Socialist Realism. But after 1948, the state relaxed its iron grip, allowing for a degree of intellectual and artistic freedom. At the same time, Yugoslavia reestablished friendly relations with the West, opening itself to influences of Western culture. The revival of modern architecture that followed was in return instrumental in reinforcing Yugoslavia's new image of a reformed Communist country. Land of the in-between argues that Yugoslavia's political shifts gave rise to a uniquely hybrid architectural culture. It combined Communist ideology with Western aesthetic and technological influences to create a mix that complicated the common black and white picture of the Cold War. Architecture in socialist Yugoslavia thus operated within a complex framework of shifting political and cultural paradigms whose contrasts highlight the meanings that post-World War II modernism assumed on a global scale. / text

&ldquo / New monumentality&rdquo / is a term which was first introduced to architectural discourse by Sigfried Giedion, Jose Luis Sert, and Fernand L&eacute / ger right after the post-World War II in the early forties. The effect of the term comes from the polemical power of reformulation of the accustomed category &ldquo / monument&rdquo / within the field of the modern architecture. In this way, as it is shaped by the three authors, for the first time &ldquo / New Monumentality&rdquo / had been identified as a modern task under the name of Nine Points on Monumentality in 1943. Therefore, this thesis is mainly grounded on this significant text that is a primary manifestation of the need for the new monumentality. On these bases, that the manifesto is stressed an effort to determine the ethics of the post war modern architecture regarding: historicism, functionalism, and representation. This thesis seeks to clarify the self-critical frame which is unfolded by the manifesto within the context of the modern architecture. Thus, the first one of the three objectives of this thesis is to clarify the concept of new monumentality / the second one is to locate its position in the history of modern architecture / and the third one is to differentiate proposed and unintended outcomes of this movement within the contemporary discourses of architecture.

El gironí Josep Claret Rubira (1908-1988), arquitecte de professió i artista-dibuixant de vocació, va obtenir el títol l'any 1933, a l'Escola d'Arquitectura de Barcelona. D'ençà d'aquella data i fins a mitjan dels anys 70, va projectar una quantitat enorme d'edificis de múltiples tipologies i nombrosos plans d'urbanització, arreu de les comarques gironines i menorquines. Amb ideologia primerenca propera a les esquerres catalanistes, es va haver d'adaptar al règim franquista, per poder continuar treballant i vivint a Catalunya. Malgrat que inicialment li deuria costar un gran esforç, el procés d'amotllament el va tenir planer (almenys aparentment), gràcies al seu parentiu -per via matrimonial- amb una família que hi estava estretament vinculada. És autor d'obres d'elevat nivell arquitectònic -amb poques que siguin conegudes i reconegudes- i un clar conformador del paisatge de les seves contrades, fet influent en la societat que hi ha estat habitant i que hi viu encara avui dia. La seva arquitectura és un magnífic exemple del que agradava a les generacions de durant cinc dècades. És també autor d'obres que, moltes vegades, no s'adiuen gens amb el que la Història de l'Arquitectura dóna per bones, però que reflecteixen el gust, les preferències i les prioritats d'una societat determinada. / Josep Claret Rubira (Girona, 1908-1988), architect of profession and artist-sketcher of vocation, obtained his university degree from the School of Architecture of Barcelona in 1933. From this year to the middle seventies, he projected an enormous amount of buildings of multiple typologies and numerous plans of urbanization throughout Girona and Menorca. His early political ideology was close to left wing, so he had to adapt to the pro-Franco regime to be able to continue working and living in Catalonia. Although it had probably been hard at the beginning, the connection process was easy (at least apparently), thanks to his relationship by marriage with a family who was closely linked to it. He is the author of works of high architectural level (being a few of them known and recognised) and a clear organiser of the landscape of his territory, an influential fact in the society that has been living there since then. His architecture is a magnificent example of what people from five decades liked. He is also the author of works that do not often fit in with what is considered correct, according to the History of Architecture, but reflect the taste, the preferences and the priorities of a certain society.

Thesis (Master)--İzmir Institute of Technology, İzmir, 2006. / Keywords: Piranesi, architectural drawing, archaeology, architectural history, the eighteenth century. Includes bibliographical references (leaves.144-176).

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 389-413). Also available on the Internet.